Drawing 8 (bottom right): Column base seen in a church dedicated to San Salvatore

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Books

Italian Renaissance Drawings
- Codex Coner: Architecture and Antiquarianism in early sixteenth-century Rome, c.1513-15 with seventeenth-century additions (100 folios)
  - SM volume 115/136

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Reference number

SM volume 115/136h

Purpose

Drawing 8 (bottom right): Column base seen in a church dedicated to San Salvatore

Aspect

Partial section with perspectival view, and measurements

Scale

To an approximate scale of 1:4

Inscribed

.in. eclesia. S/ saluatoris. (‘In the church of San Salvatore’); [measurements]

Signed and dated

c.1513/14
Datable to c.1513/14

Medium and dimensions

Pen and brown ink and grey-brown wash over stylus lines and compass pricks

Hand

Bernardo della Volpaia

Notes

This base is a variant of the type used for the upper storey of the Pantheon’s interior (Desgodetz 1682, p. 52), which has two toruses and two scotias separated by a single astragal but with an additional astragal above the top torus. Like the one depicted in Drawing 5, it was seen according to the caption in a church dedicated to San Salvatore, which is most probably San Salvatore in Lauro. It, too, may have been reused as one of the spolia in the church’s medieval predecessor.

Literature

Ashby 1904, p. 67
Census, ID 151989

Level

Drawing

Digitisation of the Codex Coner has been made possible through the generosity of the Census of Antique Works of Art and Architecture Known in the Renaissance, Berlin.

If you have any further information about this object, please contact us: drawings@soane.org.uk

Sir John Soane's collection includes some 30,000 architectural, design and topographical drawings which is a very important resource for scholars worldwide. His was the first architect’s collection to attempt to preserve the best in design for the architectural profession in the future, and it did so by assembling as exemplars surviving drawings by great Renaissance masters and by the leading architects in Britain in the 17th and 18th centuries and his near contemporaries such as Sir William Chambers, Robert Adam and George Dance the Younger. These drawings sit side by side with 9,000 drawings in Soane’s own hand or those of the pupils in his office, covering his early work as a student, his time in Italy and the drawings produced in the course of his architectural practice from 1780 until the 1830s.

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